In Luke-Acts, Jesus can be seen to take on the attributes of the Davidic shepherd king, a representation successfully conveyed through specific narrative devices. The presence of the shepherds in the birth narrative can be understood as an indication of this understanding of Jesus. Sarah Harris analyses the multiple ways scholars have viewed the shepherds as characters in the narrative, and uses this as an example of how the theme of Jesus' shepherd nature is interwoven into the narrative as a whole. From the starting point of Jesus' human life, Harris moves to later events portrayed in Jesus' ministry in which he is seen to enact his message as God's faithful Davidic shepherd, in particular, the parable of the Lost Sheep and the Zacchaeus pericope (19:1-10). Harris uses this latter encounter to underline that Jesus may be hailed as a King by the crowds as he enters Jerusalem, but he is not simply a king. He is God's Davidic Shepherd King, as prophesied in Micah 5 and Ezekiel 34, who brings the gospel of peace and salvation to the earth.

This book proposes a fresh understanding of the literary composition of Luke-Acts. Picking up on the ancient practice of literary mimesis, the author argues that Luke’s two-part narrative is subtly but significantly modeled on the two-part narrative found in the books of Samuel-Kings and Chronicles. Specifically, Luke’s gospel presents Jesus as the promised, ultimate Davidide, while the Book of Acts presents the disciples of Jesus as the heirs of the kingdom of David. In addition to the proposal concerning the composition of Luke-Acts, the book offers compelling insights on the genre of Luke-Acts and the purpose of Acts.

Although the Gospel of Matthew emphasizes Jesus as the son of David, no one has systematically investigated how 1-2 Samuel influence Matthew's portrayal of Jesus as the son of David. This work addresses that lacuna and shows how the sustained use of 1-2 Samuel in Matthew evokes the themes of mercy and righteousness as the hallmarks of a proper Davidic shepherd. The book's systematic intertextual and narrative approach offers another way to understand Matthew’s Christology and portrayal of the kingdom of heaven. It helps the reader appreciate the justice-focused nature of Jesus’ rule and its religious and political implications.

Drawing on David texts, Matthew makes the narrative case for an unexpected messiah--one who does not kill but is instead killed by the Romans.

All of Scripture testifies to the person of Jesus, yet the Gospels offer a face-to-face encounter. This newly revised third edition of Jesus and the Gospels prepares readers for an in-depth exploration of Matthew, Mark, Luke, and John. Esteemed New Testament scholar Craig Blomberg considers the Gospels’ historical context while examining fresh scholarship, critical methods, and contemporary applications for today. Along with updated introductions, maps, and diagrams, Blomberg’s linguistic, historical, and theological approach delivers a deep investigation into the Gospels for professors, students, and pastors alike.

One of the earliest Christian confessions—that Jesus is Messiah and Lord—has long been recognized throughout the New Testament. Joshua Jipp shows that the New Testament is in fact built upon this foundational messianic claim, and each of its primary compositions is a unique creative expansion of this common thread. Having made the same argument about the Pauline epistles in his previous book Christ Is King: Paul’s Royal Ideology, Jipp works methodically through the New Testament to show how the authors proclaim Jesus as the incarnate, crucified, and enthroned messiah of God. In the second section of this book, Jipp moves beyond exegesis toward larger theological questions, such as those of Christology, soteriology, ecclesiology, and eschatology, revealing the practical value of reading the Bible with an eye to its messianic vision. The Messianic Theology of the New Testament functions as an excellent introductory text, honoring the vigorous pluralism of the New Testament books while still addressing the obvious question: what makes these twenty-seven different compositions one unified testament?